This is but a brief abstract of a poem interspersed with numerous episodes, beautiful descriptions, and interesting reverses. The poet never flags. An untired spirit animates every stanza, every verse: the life, the energy, the variety, the fertility of invention, are truly surprising, and far transcend Ariosto. But minuter criticism is deferred, till an account is given of Berni and his rifacimento.
[BERNI]
Francesco Berni was born at Lamporecchio, in the Val di Nievole, towards the end of the fifteenth century. The first eighteen years of his life were spent at Florence; whence he transferred himself to Rome, and entered on the service of his relation, the cardinal Bibbiena. On the death of the cardinal, he attached himself to the nephew, Angelo Divizio Bibbiena. He was at one time obliged to leave Rome, on account of some adventure of gallantry[91]; and afterwards entered the service of Giberti, the papal Datario, with whom he remained seven years, accompanying him whenever Giberti's duties as a bishop took him to Verona. But Berni was a poet, and fond of pleasure, and fortune could not obtain from him the industry which might have advanced him with his patrons. His vivacity and his poetry were agreeable in society; he became courted as a literary man; and he was a distinguished member of the academy of the Vignaiuoli, or vine-dressers, composed of the first men in Rome. This learned association was established by a Mantuan gentleman, Oberto Strozzi. The members assumed names adopted from the vineyard; and its feasts became famous all over Italy. Berni was at Rome when it was plundered by the Colonna party in 1526, and was robbed of every thing: at the same time he was struck with horror at the cruelties committed by the invaders. He mentions them with horror in the "Orlando Innamorato." When describing the sacking of a town, he says, that his unhappy eyes saw similar outrages perpetrated in Rome. He quitted the service of the Datario after this, and retired to Florence, where he lived tranquilly, being possessed of a canonicate, which had before been given him in the cathedral of that city, and enjoying the protection of cardinal Ippolito de' Medici, and of the duke Alexander. There is a story of his being solicited by each of these princes to poison the other, which is not supported by dates or facts. Alexander was afterwards murdered by Lorenzino de' Medici. The cardinal Ippolito had died before: Alexander was accused of having poisoned him; but accusations of this sort were so frequent at that time, that, according to historians and the popular voice, no man of any eminence ever died a natural death. Berni is said to have died on the 26th of July, 1536.
Berni possessed, to an extraordinary degree, a liveliness of imagination, and a facetiousness, which caused him to invent a new style of poetry, light, witty, but highly fanciful, which became the delight of his contemporaries. Mr. Stebbing speaks with great disapprobation of him, saying, "that we shall not be guilty of much injustice, if we regard him as one of those ecclesiastical Epicureans of the sixteenth century, whose infidelity and licentiousness branded them with infamy." His minor poems are witty, but indecent: they appear to be written, says Tiraboschi, with ease and rapidity, yet the original manuscripts show that he blotted and corrected them with care. He wrote also Latin elegies; and came nearer to Catullus, the critics tell us, than any other poet of the age.
The work by which he is known to us, is the Rifacimento of Bojardo's "Orlando Innamorato," which was not published till after his death. He occupied himself with this poem at Verona, while in the service of the Datario. He addresses the Po in one of the cantos of the poem, begging of it to restrain its rapid course while he writes beside its banks; and yet at this very time his letters are full of complaints of the occupations that take up all his time.
It is a curious subject to enquire, what the fault was in Bojardo's poem, that rendered it necessary that it should be re-written. Berni was not the first to discover this, as Domenichi had already altered the style of every stanza; yet his rifacimento had not caused it to be popular. Meanwhile Ariosto wrote a continuation to it, which he named the "Orlando Furioso" and that became the delight and glory of Italy. The choice of subject in these poets is admirable. When Milton thought of making king Arthur and his knights the heroes of a poem, he selected a subject which was devoid of any quick interest to his countrymen: wars with France and civil struggles had caused the British name to be forgotten. But the Mahometans were still the terror of Italy. After the taking of Constantinople, they pressed near upon the peninsula; Venice was kept in check, and at one time Ancona was actually taken by them. Every Italian heart felt triumph in the overthrow of a Pagan and Saracen, and warmed with interest when it was related how they were driven from France. Bojardo made choice of the subject, and he added life to it, by the introduction of Angelica. His invention, his poetic fervour, his ceaseless flow of fancy, were admirable; yet he was forgotten. Many of Ariosto's episodes are more tedious, and they are less artificially introduced; but Ariosto was a greater poet: his style is perfectly beautiful, and his higher flights entitle him to a very high rank among the writers of verse. Perhaps, in the whole range of narrative poetry, there is no passage to compete with the progress of Orlando's madness.
Berni evidently appreciated Ariosto's merits, and he saw in Bojardo's a groundwork that emulated them. His faults are doubtless greater than we can judge, since style alone occasioned his want of popularity: he has many Lombardisms; and I heard a learned Tuscan say, that nothing to their refined ear was so intolerable as the pronunciation of the north. Style, however, was his only fault; and Berni, in altering that, brought at once to light the beauty of the poem: he changed no incident, no sentiment, scarcely a thought; stanza by stanza he remodelled the expression, and this was all; yet it would almost seem that he thus communicated a Promethean spark. Nothing can be more false than the accusation, that he added any thing licentious to the poem. Tiraboschi even gives credit to this idea; but, on the contrary, his expressions are always more reserved than those of the original. The comparison may easily be made, by collating, in the two authors, the passages which describe the meeting of Bradamante and Fiordelisa, the welcome given by Angelica to Orlando when he arrives at Albracca, and the journey of these two from Albracca to Provence; and the above assertion will at once be proved; nor is it true that Berni turned a serious poem into a burlesque. He added lightness and gaiety, but seldom any ridicule. It is now easy, since Dr. Panizzi's edition of the original poem, to compare it with the rifacimento: an Italian alone can be a competent judge; but it is easy for any one to see the difference between the earnest language of Bojardo, and the graceful wit of his improver. We will give, as a specimen of the usual style of his alterations, two stanzas, selected by chance in the poem: they describe the death of Agricane. Bojardo writes thus, speaking of Orlando, when his adversary, having received a mortal wound, asks him to baptize him[92]:—
"He had his face covered with tears, and he dismounted on the ground: he took the wounded king in his arms, and placed him on the marble of the fountain: he was never weary of weeping with him, entreating for pardon with a gentle voice. Then he baptized him with water from the fountain, praying God for him with joined hands. He remained but a short time, finding his face and whole person cold, whence he perceived that he was no more. He leaves him on the marble of the fountain, all armed as he was, with his sword in his hand, and his crown, and then he turned towards the horse, and thought that he recognised Bajardo."
Thus alters Berni[93]:—
"Having his face covered with tears, the count dismounts from Brigliadoro: he took the wounded king in his arms, and placed him on the brink of the fountain, entreating, while he kisses and embraces him, that all past injuries might be forgotten. Not able to say yes, the king inclines his head, and Orlando baptized him with water; and, at last, he found his face and whole person cold, whence he judged that he was no more; wherefore he left him on the verge of the fountain, all armed as he was, with sword in hand, and with his crown: then, turning his look upon his horse, it seemed to him that he recognised Bajardo."